Early Childhood Educator Essay Example for Free

Early Childhood Educator Essay The inspiration for the Reggio Emilia approach came from Reggio Emilia, Italy. In Italy, all the preschools are centered on this approach. It is a city run program for children from birth to the age of six (Cyert Center, 2004). The philosophy is that, â€Å"children’s interactions and relationships with other children and adults are a vital component of their learning† (Schiller, 1995). Reggio Emilia schools in the United States, Italy, and other countries around the world differ greatly from standard preschools here in the United States. Some of the key differences and components of the Reggio Emilia program is its role in the community, attention to the environment, and its emergent curriculum which functions as a part of the teachers and the children. Role of the Community The community is a big part of the Reggio Emilia schools. There are regularly scheduled meetings for parents to take part in. These meetings are scheduled in the evening so that working parents are able to attend. The parents and teachers discuss issues regarding school policies, child development concerns, and curriculum planning and evaluations (Wikipedia, 2007). The parents are involved in the whole process of the education of their children. Teachers send home journals of children’s thoughts and ideas expressed in class. This kind of cooperation among teachers and parents make learning on the children’s part much easier and complete. Attention to the Environment According to Lilian G. Katz, â€Å"The physical environment of a preschool center is considered a ‘teacher’ in and of itself! † (Katz, 1990). This holds true in a Reggio Emilia school. The environment is considered the â€Å"third† teacher to the students attending this kind of program. The building itself and classrooms are filled with indoor plants, vines, and lots of natural light. Natural light enters the classrooms through wall-sized windows letting the children connect with the outside world. All of the classrooms have a door to the outside and open to a center piazza. Each classroom flows well with each other and the surrounding community. The lunch rooms, courtyards and bathrooms are designed in a way to encourage community among all the students (Wikipedia, 2007). Incorporated into each school is a common space available to all children in the school that includes dramatic play and work tables (Cyert Center, 2004). Each classroom is connected with a phone, passageway or a window. The classrooms are equipped with art centers called atelier (Gandini, 1993). In the atelier are easels, watercolors, crayons, markers, paper, and any art materials children need to be creative. Another part of the classroom has books about artists and a place where children can read comfortably (Schiller, 1995). Displayed around the classroom, among all the photographs of the children and carefully placed mirrors in the school, are works completed by the children with transcriptions of their discussions about the work. The physical environment of a preschool center is considered a ‘teacher’ in and of itself! † (Katz, 1990). Emergent Curriculum There is no time schedule where at some part of the day the students are learning about science, then language arts, and then math. The kind of schedule the students follow is that there is a group meeting when the students arrive in the morning. Then there is a work period, play period, lunch time, play time, nap time, and then another work period or play period (Hertzog, 2001). For their work period, there is no set curriculum that the teachers must follow. The curriculum is an emergent curriculum which is child centered. Emergent means that is builds upon the interests of the child. The teachers have broad goals but can follow the lead and interests of the children (Schiller, 1995). During the work periods, a teacher will work with one small group on their project while the other students are engaged in self selected activities. The projects are teacher directed and child initiated and begins with the teacher observing the children and asking the children questions on a topic that interests the child. The students then do in depth studies of the content that interests the children of that group (Wikipedia, 2007). The project moves in unanticipated directions. To avoid confusion the teachers help children make decisions about direction of study, how to research the topic, and how to represent the topic (Cyert Center, 2004). The projects can range in length from one week to the whole school year. When the students are content to be complete with their project they depict their knowledge through drawing, sculpting, dramatic play, or writing. At every school, there is a visual art specialist, an atelierista, who works closely with the other teachers and children (Gandini, 1993). The atelierista guides the children into appropriate media choices to complete their ideas and projects. Because art is such an integral part of all activities, the students’ old works, finished and unfinished, are available to them to finish or add on. While they work on their art projects, the teachers talk to the children and write down any thoughts or ideas the students have. They display the students’ discussions with their art work around the classroom and school (Schiller, 1995). In order for this curriculum to work, the teachers must also learn with the students. The teachers take turns with the following roles: observing, note taking, and recording observations between children. After all observations are recorded, they are shared with other teachers and parents in the planning of the students’ projects. It is crucial that teachers become skillful observers of the children. Their observations guide the curriculum planning and implementation (Wikipedia, 2007). Conclusion The Reggio Emilia approach to learning is a constructivist approach where the students learn at their own pace and guide the curriculum. It is all about the children. The children’s interests lead them into a project that is researched in depth at a level that they can understand. The children’s thoughts and ideas are implemented into the curriculum and planning and are shared with the community. Reggio Emilia works because the children are learning what they want to learn with the help of their parents, teachers, and the community.

Monetary Policy Essay -- Expansionary and Contractionary Policy

Introduction Monetary policy is among the many tools used by a national government to manipulate its financial system. Monetary policy refers to the method used by the financial authority of any country to control the supply and availability of money (Woelfel, 1994). It is often targeted at interest rates to achieve lay down objectives directed towards economic growth and stability (Woelfel, 1994). Monetary policy rests on the link between interest rates in an economy, that is, the relationship between interest rates and the total money supply. It employs a variety of methods to control outcomes like inflation, economic growth, currency exchange rates and unemployment. Monetary policy can either be expansionary policy in which case there is a rapid increase in the total money in circulation in the economy, or contractionary policy in which case there is a slow increase or decrease in the total amount of money in circulation in the economy (Woelfel, 1994). The description of monetary policy takes the following approach; accommodative if the intention of the set interest rates is to stimulate economic growth, neutral if the intention is neither to fight inflation nor to stimulate economic growth and tight if the intention is to decrease inflation (Woelfel, 1994). These can be achieved through various tools including raising reserve requirements, increasing interest rates by fiat, and decreasing the monetary base, depending on the intended results (Woelfel, 1994). Monetary policy is always intended to either increase or decrease the amount of money in circulation in the economy. Reducing interest rates encourages borrowing thus increases the amount of money in circulation. It is however challenging when the interest rates are... ...ood of increased tax on their savings (Goodfriend, 2000). It is therefore fundamental for central banks to promise the public that it will maintain some elements of quantitative easing even as the economy recovers in order to gain public trust. Besides adjustments on tax and expenditure instruments takes a longer period thus may only be effective in neutralizing the zero bound in the long run but not short term effect as required in this case. The signaling Channel This channel unlike the others capitalizes on shaping the publics expectations through visible signal about central bank’s future policy intentions. This channel is more of a visible sign for central governments commitment to maintain zero policy rates for longer duration. This channel requires central banks to show a remarkable willingness to break from the previous conventional monetary policies.

Dance, Girl, Dance Essay

Dance, Girl, Dance is a film from the Classical Hollywood period that presents a complicated reading when viewed through a feminist lens. The 1940 film was directed by Dorothy Arzner, one of the most notable female directors and the only prominent woman in Hollywood at that time. Arzner presents her audience with an array of female characters, the main characters being Judy O’brien and Bubbles/Tiger Lily White. Judy is a dedicated dancer, honing her talents as a ballerina. Bubbles, on the other hand, uses her looks and sexuality to land jobs as a burlesque dancer. Dance, Girl, Dance reveals these characters’ experience in a dance troupe with several other girls. When the troupe disbands, Bubbles comes to offer Judy a humiliating job as her stooge. As tensions rise, the two eventually come to blows, quite literally, when both fall for the same man, Jimmy Harris. Through their relationship with each other and with men, a dynamic is defined that gives insight into the power of the male gaze and sexual politics, not only in the film but also in society at large in the context of 1930s America. This can be seen in the analysis of a particular scene near the beginning of the film. Judy and one of her roommates, Sally, are preparing for bed after their performance at the nightclub in the opening scene. Bubbles, their third roommate, arrives at home after a disappointing outing with Jimmy. This scene specifically highlights the contrast between the personalities of Judy and Bubbles, and speaks to the many ways female characters are coded based on their sexuality and appearance. The analysis of the scene begins at the moment Bubbles enters the room. She comes into the frame through the doorway in a medium shot. It is important to note her costume, as it speaks to her character. She is wearing makeup, jewelry, a fox fur stole around her shoulders and a feathered hat. One may get the impression that she is trying to look as glamorous or ostentatious as possible on her limited budget. At this point, Bubbles has already been partly established as a brash woman who does not shy away from her ability to attract men. This can be contrasted with Judy’s costume during this scene, modest button-up pajamas. The scene continues as Bubbles enters the tiny apartment. She turns on the light, when Judy whispers that Sally is asleep from off camera. Bubbles leaves the light on, looks down at Sally in the bed, and proceeds to loudly close the door while muttering â€Å"So, what? † As she delivers her dialogue, the camera follows her as she walks to her bed, panning over to include Judy in a two shot. One key element in this simple interaction is the difference of attitude toward female solidarity between Bubbles and Judy. Judy obviously cares to not disturb Sally, while Bubbles seems disappointed and only concerned with her own problems at this point. Then, the camera cuts to a close shot of Sally lying in bed, smiling and clearly awake. She then closes her eyes and continues to try and sleep, rendering her unimportant to the rest of the scene. The next cut brings us back to a long, two shot of Bubbles and Judy as they discuss what happened to Bubbles that evening. Bubbles is explaining how she had gone out with Jimmy, but he suddenly left her at the bar after giving her a little stuffed bull. In this shot, Bubbles is in the foreground, a little closer to the camera than Judy, making her appear slightly larger. This could be interpreted as signifying her social dominance over Judy, and the fact that she â€Å"stole† Jimmy from Judy earlier that evening. Bubbles dismissively tosses the bull onto a chair in front of Judy. Judy picks it up, stating â€Å"It’s cute. † Bubbles tells her that she can have it. The audience is clearly meant to get the impression that the token of the night has no significance to Bubbles, and she is merely disappointed that she could not add Jimmy to her list of men to dote on her occasionally. The camera stays stationary as Bubble walks to the background of the shot and sits on her bed. Judy gently places the bull back on the chair, already showing signs of her eventual fetishization of the bull and Jimmy. Then, she continues to bend and stretch her legs, as Bubbles pouts behind her. It is interesting to point out that as Judy resumes her exercises, she has gained the â€Å"high ground† of the shot. The reminder of her status as a dancer, a more artful and talented dancer than Bubbles, means she is the larger, more significant character in the frame now. The focus has moved from Bubbles proficiency as a female spectacle, completely at home under the male gaze, to Judy’s proficiency as a ballerina, with no real concern for superficial male attention. Then, this is reinforced when there is a cut to a medium shot of Bubbles, looking at Judy. The camera follows Bubbles line of sight and there is a quick cut to a medium shot of Judy, then it reverses back to the shot of Bubbles on her bed, shaking her head. She says, â€Å"I’ll say one thing for you, Pavlova. You’ve certainly got ambition, even if it’s dumb. As she says this, Judy’s foot briefly enters from the side of the frame as she kicks her leg. Once again, Bubbles is coded as having no passion for her craft as a dancer, seeing it as a means to an end of attracting men and/or making money, while Judy genuinely loves to dance. One way of reading the film is through the suggestion that Judy’s ballet is high art, while Bubbles’ burlesque is low art. In the world of the Dance, Girl, Dance, women utilizing their sexuality for physical and financial gratification given by men is deemed less valuable than artistic expression. What follows is a short series of counter shots between the two, as Bubbles ponders how she will get back to New York, going through her list of male suitors to find a solution to her dilemma. On a surface level, this shows that Bubbles needs men to get where she is going, whether it is for a trip to New York or a trip to stardom as they buy tickets to her shows later in the film. The scene comes to a close as Bubbles decides on Sam, the traveling salesman that is â€Å"sweet on her. As this line is delivered, there is a quick cut to Judy whipping her head around to look back at Bubbles. Judy has an expression on her face that is hard to describe, but it gets across the fact that her reality is very different from that of Bubbles’. Judy goes on to ask if there will be room for Sally, as the camera tracks Bubbles while she walks to the bathroom. As the camera stops tracking, it stops in a medium shot of Bubbles as she eventually replies, â€Å"†¦ All right, she can go, b ut don’t blame me. That guy’s got more arms than an octopus. † There is a cut to a close shot of Sally in bed with a wide-eyed, nervous expression as she quickly lifts up her head and plops back down. Like Judy, her reality is very different from the reality of the dynamic Bubbles, and the possibility of encountering a man from that reality seems to frighten her. After the last cut of the scene, it ends on a medium shot of Judy picking up the stuffed bull once again and smiling at it fondly. This emphasizes the fact Judy is not asexual and clearly is developing feelings for Jimmy. Although, Judy seems to have a more deep, emotional connection to Jimmy than Bubbles has for her various men. Judy only became interested in Jimmy after he helped the girls at the nightclub and talked with her earlier in the film. Her interest is not based solely on what he can provide to her. The differences in costume, behavior and motivation between Bubbles and Judy are relevant to a larger scope of the film involving sex and gender politics. For all of the above reasons found in the formal elements of the film’s visual and narrative composition, Bubbles is coded as superficial, purely physical and vapid. On the other hand, Judy is given much more value and depth. While Bubbles goes on to find success by exploiting her good looks, Judy is the winner in the end, when she lands her position in the ballet company and achieves her dreams. In this way, the film is sending a message that female self-worth is not derived from male approval or reaffirming of beauty, but from accomplishment of what are considered to be more substantial goals.

Lyndon Johnson s The Great Society - 924 Words

On 1964 Lyndon Baines Johnson delivered the speech, â€Å"The Great Society†. He traveled to Ann Arbor on May 22 to give his speech at the University of Michigan. Previously, Lyndon Johnson first mentioned â€Å"the great society† at the Ohio University. He stated, â€Å" And with your courage and with your compassion and your desire, we will build a Great Society. It is a Society where no child will go unfed, and no youngster will go unschooled,†(Remarks in Athens at Ohio University line 51-52). However, it is at the University of Michigan where Lyndon B. Johnson elaborates and establishes the importance of â€Å"The Great Society† ,and where he delivered his famous speech. Lyndon Baines Johnson in The Great Society, creatively combines the unique use of†¦show more content†¦Before he addresses the topics of his speech, he was able to establish the sense of patriotism through the syntax of the greeting and as it continues throughout the speec h. As his speech continued, L.B. Johnson maintained the syntax by using short sentences and repetition. In paragraph 5, Lyndon used the shorts sentences and repetitiveness of the term, â€Å"It is a place† , to drive home the point of the â€Å"Great Society† and gain attention of the audience. In paragraph 5 it states, â€Å" The Great Society is a place where every child can find knowledge... It is a place where leisure is... It is a place where the city of... It is a place where man... It is a place which honors creation.... It is a place where men are more concerned with the quality of their goals than the quantity of their goods,† which shows the many repeats. Because of his effective use of the syntax in paragraph 5, he was able to gain the attention the audience and forward their attention into the â€Å"Great Society† and the possibility of the greatness of America. The use of the syntax helps to gain the attention of the audience by using the sam e point repeatedly. He continued to establish the desired tone by changing from a short sentence structure to longer sentences. This was greatly effective due to change of a slower pace it created. An example is present in paragraph 8 when it states, â€Å"It is a challenge constantly